95 posts categorized "Audience"

February 24, 2015

In 2007, I posted a picture of me blogging, with a one month old Catriona in one arm, one-handed typing on the other:

One year later, I had stopped writing on my blog regularly (until this month) for many reasons:

At Channel 4 in 2008, I was so unschool in my work that I felt totally uninformed and uninspired to write about learning - this was daft, since every public service platform I funded and produced had learning at its heart.

By 2010, having started NoTosh, I ended up with a crisis of living in two electronic worlds, at a time when many of us were really at the beginning of fathoming how to live online privately as well as publicly. The NoTosh blog (we used to have one, and it'll make a reappearance in 2015!) was where I spent most of my writing time until 2011, as my edu.blogs.com writing fell away.

By 2012, I was on mega travel - nearly 250,000 miles a year - and the simple fact of being in the air without wifi thwarted efforts to write.

By late 2013, with the stress of opening a new office in Australia (even if it was led by the wonderful Tom Barrett, who was also, without a doubt, feeling a tad stressed himself), and then expanding it in 2014, and adding an office in San Francisco later that year, both delivering great learning for educators and creatives, planning it and attempting to keep a team happy was proving tough - writing on a blog, if I'm honest, didn't make any sense.

One of the reasons for stopping transient writing was just that - I wanted more permanence. So I wrote my book, long form, as well as a new Masters course. 120,000 words in 12 weeks, while also traveling twice around the world. It helped me realise that writing was not the issue, but publishing it live was.

And so to February 2015. I turned 37 yesterday, on a plane, and with no chance to write 'live'. Today, I'm in meetings from 8am until 9pm. I'm not going to have the energy to write, so this, too, is a forward-post with my head spinning from jetlag in Hong Kong.

I wouldn't swap my life for the world. I'm very fortunate to have a family that has come to cope, somehow, with my travels, and a supportive team who I can lean on when I need to. But when push comes to shove, it is writing on the blog that has always had the shove.

Maybe that's what making things explicit and public is all about - you magically find time to do things, ditching others, and not giving up what is truly important to you.

Above all, writing every day has been a wonderful model for that little Catriona, and her new (well, now four years old) sister, Anna:

February 23, 2015

This is what they call a "forward" post. I wrote it yesterday, when I had wifi and time, and am posting under today's date. I have a (reasonable) expectation that I will be alive tomorrow, and that this will not, therefore, freak out anyone unduly.

In the early days of blogging with my school students, back in 2002/3, I'd use forward posting on the foreign trips we made because mobile access to blogging software on my Nokia was so expensive. At the time I gauged our expectations of living tomorrow high, but was young enough and foolish enough to forget that, should our coach have gone off piste 88 mums and dads, notwithstanding the rest of our families, would have been rather taken aback to see us "happily arrived in Caen", and not in the mortuary.

Expectations are funny things. We all like to believe we have different expectations, but some of our expectations are just hardwired, like the pentatonic scale, into our beings. This year, the case was proven when I felt obliged, finally, to remove my kid from her local school and attempt to fund a better future in a local private school. The principle reason for this move, against many education bones in my body, was that state education in my neck of the woods feels like it has lost its sense of expectation for every kid. Our expectations are realistic, perhaps, and the intention of supporting all children to achieve will help the lower 20% become a much more able lower 20%. But there will always be a bottom 20%. And if our efforts are in setting expectations for the middle, all kids will tend to aim a little below whatever we set them. In her new school, Catriona is flourishing, with expectations set at a stratospheric level and a hidden understanding that, really, the goal isn't to meet them at all. There's something else going on.

This ties into what we consider 'normal' expectations. My expectation of being alive tomorrow (today) when this is posted are high. I place trust in my pilots, my plane and my fellow passengers, not to do us any harm.

My expectations of living another day along with my students back in 2002 were equally high, but not entirely shared by nervously grinning colleagues when they knew what I had prepped for future-posted blog posts.

My expectations for my kids' own learning are stratospheric. At 4 and 7 years old, I expect them to be able to do anything that they want, as long as... and there is the tough bit. What are the conditions for expectations that mean some schools succeed in pitching them perfectly, and others, on a systemic level, fail completely?

This is not a pushy parent, or a doting dad post. This is all about helping my kids learn earlier than I did what Steve Jobs put thus:

"When you grow up you tend to get told that the world is the way that it is, and your life is just to live your life inside the world, try not to bash into the walls too much, try to have a nice family life, have fun, save a little money...

"That's a very limited life. Life can be much broader once you discover one simple fact:

"Everything around you that you call life was made up by people that were no smarter than you. And you can change it, you can influence it, you can build things that other people can use.

February 13, 2015

Reggie Watts breaks me up every time I hear the beginning of this TED Talk. It's funny because, so many times before, I've heard this kind of faux-erudite nonsense from self-proclaimed intelligentsia, in an unfunny context. It comes from people who want to look smart, instead of just being smart. Click play and read along...:

"... and that's one of the things that I enjoy most about this convention. It's not so much, as so little as to do with what everything is. (Laughter) But it is within our self-interest to understand the topography of our lives unto ourselves. (Laughter) The future states that there is no time other than the collapsation of that sensation of the mirror of the memories in which we are living. (Laughter) Common knowledge, but important nonetheless. (Laughter) As we face fear in these times, and fear is all around us, we also have anti-fear. It's hard to imagine or measure. The background radiation is simply too static to be able to be seen under the normal spectral analysis. But we feel as though there are times when a lot of us -- you know what I'm say'n? But -- you know what I'm say'n? Cuz, like, as a hip hop thing, you know what I'm say'n, TED be rock'n -- you know what I'm say'n. Like so I wrote a song, and I hope you guys dig it. It's a song about people and sasquatches -- (Laughter) -- and other French science stuff. That's French science. Okay, here we go. ♫

Watts is then just smart.

Would you rather look smart or be smart? For the past decade I've been a fiendish reader of all things simplicity, especially the art of making complex ideas simple. I've often been off the mark on that one, but not for wont of trying. I take solace from the fact that most policy on education, most curricula, most education research is written in such a way as to render its content useless for the people who need to understand it most.

"But I had seen first one and then another of the rooms in which I had slept during my life, and in the end I would revisit them all in the long course of my waking dream: rooms in winter, where on going to bed I would at once bury my head in a nest, built up out of the most diverse materials, the corner of my pillow, the top of my blankets, a piece of a shawl, the edge of my bed, and a copy of an evening paper, all of which things I would contrive, with the infinite patience of birds building their nests, to cement into one whole; rooms where, in a keen frost, I would feel the satisfaction of being shut in from the outer world (like the sea-swallow which builds at the end of a dark tunnel and is kept warm by the surrounding earth), and where, the fire keeping in all night, I would sleep wrapped up, as it were, in a great cloak of snug and savoury air, shot with the glow of the logs which would break out again in flame: in a sort of alcove without walls, a cave of warmth dug out of the heart of the room itself, a zone of heat whose boundaries were constantly shifting and altering in temperature as gusts of air ran across them to strike freshly upon my face, from the corners of the room, or from parts near the window or far from the fireplace which had therefore remained cold—or rooms in summer, where I would delight to feel myself a part of the warm evening, where the moonlight striking upon the half-opened shutters would throw down to the foot of my bed its enchanted ladder; where I would fall asleep, as it might be in the open air, like a titmouse which the breeze keeps poised in the focus of a sunbeam—or sometimes the Louis XVI room, so cheerful that I could never feel really unhappy, even on my first night in it: that room where the slender columns which lightly supported its ceiling would part, ever so gracefully, to indicate where the bed was and to keep it separate; sometimes again that little room with the high ceiling, hollowed in the form of a pyramid out of two separate storeys, and partly walled with mahogany, in which from the first moment my mind was drugged by the unfamiliar scent of flowering grasses, convinced of the hostility of the violet curtains and of the insolent indifference of a clock that chattered on at the top of its voice as though I were not there; while a strange and pitiless mirror with square feet, which stood across one corner of the room, cleared for itself a site I had not looked to find tenanted in the quiet surroundings of my normal field of vision: that room in which my mind, forcing itself for hours on end to leave its moorings, to elongate itself upwards so as to take on the exact shape of the room, and to reach to the summit of that monstrous funnel, had passed so many anxious nights while my body lay stretched out in bed, my eyes staring upwards, my ears straining, my nostrils sniffing uneasily, and my heart beating; until custom had changed the colour of the curtains, made the clock keep quiet, brought an expression of pity to the cruel, slanting face of the glass, disguised or even completely dispelled the scent of flowering grasses, and distinctly reduced the apparent loftiness of the ceiling."

I'll admit this now. I've not read the book. Nor have I actually read the sentence that I just copied and pasted here. Why? Because it's not really the point of this post.

The point of this post is to place an intellectual earworm in your mind, ready for Monday morning, or the next time you turn finger to keyboard, pen to paper, to convince anyone to do anything. No-one cares how smart you try to show yourself to be, how smart your strategy might look, how smart your tech programme appears to be. They care how smart all of it really is, meaning your job is to share it in as simple a way as possible.

(The readability score of this blog post, without Proust, is 80. #fistbump)

February 12, 2015

NoTosh doesn't just help scores of schools and private business with their strategy; we're in the process of adjusting our own course, too. What I've noticed, is that the activity known as 'wordsmithing' is normally referred to dismissively, with disdain, as something someone else will do much later on, once they "real work" of strategising is done. These leaders could not be more wrong.

Far from the afterthought or polishing to which the task is often reduced, getting the wordsmithing right as you create your strategy is vital if you want people to really believe in it.

To help me on NoTosh's own strategising I've been diving into Andy Maslen's tomes (that's his distinguished mug on the top of the post). For a copywriter extraordinaire, he tends to spend at least half his books helping the reader understand what it is they are trying to do and why the hell they're doing it. I can imagine a few strategies dying a necessarily premature death by around p.43 of most his books.

A key point that resonates as I undertake a few schools-based strategy projects, is this one:

People want to know what's in it for them (WIIFM?).They don't care how clever you are.They don't care that you are proud / humble / honoured about anything.They don't care how much excellence you promote.People want to know what's in it for them.

He suggests a couple of writing tools that will help education strategists (any strategist, really) to convey their 'why', and in turn the WIIFM, so much more clearly:

KFC:What do you want your reader / student / parent / teacher / peer to know, how do you want them to feel about it, and what do you want them to commit to?

Don't use the 'F' word - use the 'B' wordDon't list off the features of your latest product / school / initiative / programme of work / technology roll-out. Tell us the benefits in our lives. This works in the same way as I suggest people should pitch new ideas to their peers: start with a 'pain', turn the thumbscrews until we're begging for an answer, and then tell us all about how your idea is going to make our lives so much better.

FAB: Grab me by the ... benefitsFeatures first, then tell me the general advantages of working in this way might be, and then tell me the benefits to me personally.

Don't assume I'm paying attentionToo many governmental policies, school strategies and "research-based" approaches to learning simply assume that the audience should be receptive to the new idea. This is a fatal flaw, and undermines even the best ideas. Assume that your audience has plenty of other far more interesting things to be doing, and write your strategy or pitch to wrestle their attention back towards you. Try starting the strategy with the words "How" or "Now" and see how people want to take part in making it happen.

In this interview, that I've used in two recent keynotes on creativity and failure, Zacharias makes the point that listening to a concert is one of the rare moments in our lives where we can concentrate on just one thing, without interruption. Much like deep thinking or learning, interruptions by phone rings (or bell rings in school) are catastrophic for our projects and ideas.

In this instance, it was just too much. On the up side, Zacharias says, after such an interruption, the audience is even more attuned to what is going on, on the stage.

I love the shrug at the end, a realisation that something simple and playful can diffuse the potential blot on a whole performance.

In teaching, it's easy to let interruptions get in the way of our thinking. We respond with anger, frustration, telling offs... But it is the regular interruptions to our thinking - the bell, the timetable, the examination - that risk being the biggest incumbrance to sustainable levels of creativity and deep thinking of school students the world over.

10 years ago, I might have been amongst the masses to point out that the bell, the timetable and the examination are all thrust upon me, as a teacher, and that I have no chance of controlling them merely in the name of creativity. Today, however, I know that teachers can achieve so much more if they design their way out of it. I've just come off a call with educators at Nanjing International School where, in preparing and prototyping ideas for a new strategy:

students have taken longer periods of time with specialists, rather than the chop-change of a regular schedule - more learning, less running around between classes;

homework has been replaced with home learning, based on the self-created projects students undertake during the day;

students develop personal projects get deep into learning outside the classroom, where there are no bells or timetables (said one kid: "When you're interested in it it's really easy!");

parents are sitting in with their sons and daughters during class and lunchtime, to see how they learn what they learn;

students are starting kernels of social entrepreneurship firms whose objective is longevity and sustainability, not short-term money-making.

All of these have come as a result of the school working as a whole, with design thinking mindsets along the way, to think differently about learning, to make learning happen from the point of view of what works for the student, more than what works for reinforcing the existing system.

February 05, 2015

Kurt Vonnegut, writer and famous speech giver at US university graduation ceremonies, made this point to one group of soon-to-be-non-students: If this isn't nice, I don't know what is.

It is the end of a story about his grandpa who, on a summer's afternoon, would find the shade of a tree under which he could rest with a glass of homemade lemonade. The family didn't have a lot of cash, the grandpa worked hard every day of his life, but no matter how relentless the day-to-day was, he would always repeat this phrase as a reminder to those around him that, at the end of the day, this is all still amazing to be part of.

This kind of optimism, as you might call it, can often disappear in a flash in the busy-ness of business or school. Things become impossible, hardgoing, relentless(ly difficult). And the reasons we give for that busyness nearly always involve someone or something else - the system, the job, the weather...

For many years, people would ask the salutary "how are you?" and my answer was a stock one: "I'm tired."

It was my wife who pointed it out to me, presumably because everyone else was too polite to express their boredom with my reply. The fact is, most people feel tired most of the time, until they make a switch in their life. That switch is deciding that the only person who can turn that frown upside down, who can make crazy stuff happen (or attempt to, and enjoy the process), is you. And in Vonnegut's case, that switch came from saying out loud the one phrase that brings us back to the good elements in what we or our team or our family is doing at any given moment: If this isn't nice, I don't know what is.

The relationship to doing better at our work is there, too. Dylan Wiliam points out that too much teacher development resembles the doctor's surgery: let's find out what's wrong with you and work on fixing that. Instead, the research shows us, we should really be finding out what we're already doing well in and then build on that good practice to become experts in it.

It makes sense, for at that point we really can say to ourselves: If this isn't nice, I don't know what is?

Likewise, when as a Twitterer or blogger your inner snark chooses to pick over the rights, wrongs, exactitudes or impressions given by others who have chosen to write for an audience, hold him back and ask yourself: If this isn't nice, I don't know what is.

It's a great phrase. It doesn't ask "if this isn't expert / the best / the most bombastic experience of my life, I don't know what is?". It merely asks if things are not 'nice', a word I was always taught to avoid but for which there is a specific, useful purpose for us all in the midst of the busyness that can get in the way of really enjoying, embracing and smiling through the one precious life with which we can make a difference.

February 01, 2015

A confession: our team at NoTosh has had blog guilt for years, and we keep having tense conversations about why we can't better share the amazing work the team and our clients get up to.

We developed a new website two years ago, with a flurry of writing, but haven't updated it half as much as we'd want to. We all have our own individual blogs which we update when... we have a holiday. If our time is not spent in the high energy, high adrenalin of engaging with thousands of teachers at an event, or the intensity of one business leader over the table, it is in the deep troughs of loneliness and boredom that come with sitting on planes for hours, or facing off the computer screen at the home office.

Well, I know one thing: a good idea never came out of a computer. Great ideas come out of people's heads, and they come from experiences that have provoked them, jarred them, annoyed them, made them laugh or made them cry. The most vibrant of these experiences are not found on our Facebook walls; they are in the world around us.

My colleague Tom, who came up with this idea of 28 minutes of uninterrupted writing over each of February's 28 days, has kicked off what might become a kind of 'writers' anonymous' (indeed, I've fallen off the wagon twice already in this paragraph, helping my daughter work out how to programme her Dash and Dot). A group of fellow bloggers - writers who share their stuff straightaway - who can provide the mutual kick up the backside that no-one else is going to give you.

What do I plan to do with my 28 days? I have no plan at all. Most of my writing is planned - my 60,000 words of book writing was planned. Most of it is to deadlines - while I wrote my book I underestimated the effort it would take to also write 50,000 words of a new Masters course. A large chunk of my writing just needs done (if you've had an email from me this past week, that's you).

But my 28 days of writing, no matter how much arse-kicking my fellow blogging travellers give me, does not need done, and this is no doubt what will compel me to thump out my 28 minutes, every day, without fail.

My only foreseeable challenge with this 'writers' anonymous'? My writing is akin to an alcoholic's drinking - I go cold turkey for weeks on end, but once I start, I find it hard to stop. Keeping to just one 28 minute stint a day will be the challenge.

This clip is a wonderful example of agile leadership. In the moment of panic, the conductor takes control, not with a baton or by stopping the orchestra, but with a beautiful embracing smile, and a jovial reassurance that she would manage.

Pires then takes the leadership role on, summoning her memory, her expertise, talent and prior learning, to tackle the new concerto she hadn't been prepared to play in the first place.

When we talk about failure in learning, it is vital that we talk about failure and what we learn from it. Failure for failure's sake is a tragedy. Pires had 'done her homework' and knew the other concerto (and probably many others) by heart, from experience. She had also done her homework in being able to 'make the show go on', regardless. But no doubt, she'll rehearse with the orchestra before future live performances, she'll make the time to have that preparatory phone call. Thankfully, her learning gives her the opportunity, post-performance, to try again and get it right.

Most learning in school, though, does not give time for failure to be learned from. Instead, even though half or more of the students in the classroom may have scope for improvement, teachers feel compelled to "move on", to "get on" to the next piece of content, or to get onto the test. Really, in an ideal world, the student makes the decision about when they are 'done', ready to move on to the next thing, and often they will know what that next thing is.

Where the teacher holds all the planning in their hands, though, when the teacher perceives curriculum and success criteria as teacher-destined documents, and not as documents to flesh out hand in hand with students, this 'ideal world' does not happen.

Make the first step of 2015 towards letting students really do their homework: give them the curricular and success criteria tools we've normally kept behind the teacher's desk, and work out with them how their projects, their ideas and their ambitions meet them halfway.

November 26, 2014

Provocations lead to deep, broad learning, and students tend to learn more, faster as a result. I've been showing educators how this is so, and how to do it, for the past five years with my motley crew. New Zealand educator Rob Ferguson woke me up this morning with a tweet, about how a provocation (the video, above) led to his students not just "doing art" for their 10th Grade assessments, but "doing art" to make a difference, as part of a global movement of artists:

This might seem simple, but at play is some good, deep thinking. The provocation, through the video clip, comes at the beginning of learning, along with many other resources and content sources in an immersion that will contradict, delight, frustrate and generate a discord. This is not PBL where the teacher creates just one problem or open-ended 'essential' question, but a more realworld scenario where conflicting and provocative takes on several subject matters create confusion and discord. This discord is what sets students off to "problem-find" for themselves, seeking the genuine core of the many problems and many potentially 'essential' questions being presented. Having synthesised down to their own problem, or "how might we" statement, students will set out to ideate and prototype their solutions to the problem, or their way of showing off what they have learned. Often the ingredients used in the provocation will reappear in the prototypes, of which the photo above is one example.

Simple on the surface, deep, complex, frustrating, confusing learning on the underbelly: that is what we mean by design thinking for learning. And not a 3D printer or robot in sight!

March 21, 2014

Pixar, since it was purchased by Disney, gives off an air of resilient creative and commercial success, but the journey is rarely that smooth. In fact, the more creative the output, the more commercially successful it is, for Pixar at least, and the processes used by the teams is remarkably close to what we see in highly effective classrooms.

During a keynote en français in Québec, I wondered why learning today sometimes felt less personalised than 30 years ago when personal computers first hit my primary school. Inspiration came to me from my daughters, Catriona and Anna, as for the nth time they sang along to the karaoké version of Disney's Frozen title track, Let It Go:

I was fascinated by the obvious success of this film in hooking my kids, and wondered if I might be able to make some links between what we know works, from the research of Dylan Wiliam, Hattie and the like, and what we see works in the creative industries with films like this. Much of the insight comes from a new book by Pixar’s President, Ed Catmull, which is released this April: Creativity, Inc.. Excerpts from the book can be read in this month’s Fast Company.

“After the original leaders of animation left Disney in the 1990s, the new people running things were from production. And they brought their values, which were to keep the production people busy and productive with one movie after another. So story development was organized in the same way they organized production. As a consequence of this "feed the beast" mentality, a balance was lost at Disney.

“The cost of that becomes clear when you think of how a movie starts out. It's a baby. It's like the foetus of a movie star; we all start out ugly. Every one of Pixar's stories starts out that way. A new thing is hard to define; it's not attractive, and it requires protection. When I was a researcher at DARPA, I had protection for what was ill-defined. Every new idea in any field needs protection. Pixar is set up to protect our director's ugly baby.”

This process is markedly not just a creative one - it involves critical thinking, too. But the point at which critical analysis is introduced is, well, critical. Too early, you kill your baby before it has a chance to grow fully. We do this all the time when we survey progress too early, or don't know what the purpose of an immersion period is.

2. We’ve been through the process ourselves. We share the language and steps

“People who take on complicated creative projects become lost at some point in the process. It is the nature of things--in order to create, you must internalize and almost become the project for a while, and that near-fusing with the project is an essential part of its emergence. But it is also confusing. Where once a movie's writer/director had perspective, he or she loses it. Where once he or she could see a forest, now there are only trees.”

Key to making sure that the balance is struck, and struck at the right time, is having a process on which you can depend, and which everyone in the team can trust. Most creatives we know at NoTosh use design thinking, or some version of it. The language between each team is different, but the language within each team is shared and common.

They all recognise that in the initial period of immersion it is too early to make the call as to the worthiness of any given problem or challenge. By synthesis they know that there is an opportunity to critique, to make sure that we’re headed on the right path. By the time you enter the ideation, prototyping and feedback loop, you are constantly starting and stopping, but each idea is small enough, light enough and on strong enough foundations of the immersion, to cope with tweaks, both major and minor. New ideas can get ditched easily, with a fresh crop of better ones emerging from the dust of the feedback.

3. Decide on your rules

“Earlier, before the screening, Pete had described what they'd come up with so far. "What's inside the mind?" he asked his colleagues. "Your emotions--and we've worked really hard to make these characters look the way those emotions feel. We have our main character, an emotion called Joy, who is effervescent. She literally glows when she's excited. Then we have Fear. He thinks of himself as conﬁdent and suave, but he's a little raw nerve and tends to freak out. The other characters are Anger, Sadness--her shape is inspired by teardrops--and Disgust, who basically turns up her nose at everything. And all these guys work at what we call Headquarters."

“That got a laugh, as did many scenes in the 10-minute preview that followed. Everyone agreed that the movie had the potential to be, like Pete's previous ﬁlm Up, among our most original and affecting. But there seemed to be a consensus that one key scene--an argument between two characters about why certain memories fade while others burn bright forever--was too minor to sufﬁciently connect audiences to the film's profound ideas.

“Midway down the table, Brad Bird shifted in his chair. Brad joined Pixar in 2000, after having written and directed The Iron Giant at Warner Bros. His ﬁrst movie for us was The Incredibles, which opened in 2004. Brad is a born rebel who ﬁghts against creative conformity in any guise. So it was no surprise that he was among the ﬁrst to articulate his worries. "I understand that you want to keep this simple and relatable," he told Pete, "but I think we need something that your audience can get a little more invested in."

“Andrew Stanton spoke next. Andrew is fond of saying that people need to be wrong as fast as they can. In a battle, if you're faced with two hills and you're unsure which one to attack, he says, the right course of action is to hurry up and choose. If you ﬁnd out it's the wrong hill, turn around and attack the other one. Now he seemed to be suggesting that Pete and his team had stormed the wrong hill. "I think you need to spend more time settling on the rules of your imagined world," he said.

“Every Pixar movie has its own rules that viewers have to accept, understand, and enjoy understanding. The voices of the toys in the Toy Story ﬁlms, for example, are never audible to humans. The rats in Ratatouille walk on four paws, like normal vermin, except for Remy, our star, whose upright posture sets him apart. In Pete's ﬁlm, one of the rules--at least at this point--was that memories (depicted as glowing glass globes) were stored in the brain by traveling through a maze of chutes into a kind of archive. When retrieved or remembered, they'd roll back down another tangle of chutes, like bowling balls being returned to bowlers at the alley.

“That construct was elegant and effective, but Andrew suggested that another rule needed to be clariﬁed: how memories and emotions change over time, as the brain gets older. This was the moment in the ﬁlm, Andrew said, to establish some key themes.”

If it takes a long time for Catmull to describe the formation of rules that guide the creation of a film, it takes an equally long time to make them clear in a learning situation. Taking Dylan Wiliam’s five key areas that teachers and schools might develop, one might feel that there are ready-made rules about “the way we should teach and learn”, ready to take off the shelf:

But schools need to have internal discussions amongst staff about how to internalise these into the story they are trying to tell, with their clientèle in their locale, work out what the rules of their game are. Then teachers have to have the same conversations with their students, taking time out to think about thinking, to learn how to think - those learnings become the rules of engagement for the class, keeping learning on the straight and narrow, even when a project is complex, even when the project team is only seeing trees and no forest.

4. Know how to take feedback, and find a producer to help you through it

“An important corollary to the assertion that the Braintrust must be candid is that ﬁlmmakers must be ready to hear the truth; candor is only valuable if the person on the receiving end is open to it and willing, if necessary, to let go of things that don't work. Jonas Rivera, the producer of Pete's ﬁlm, tries to make that painful process easier by "headlining" the main points of a Braintrust session--distilling the many observations down to a digestible takeaway. Once this meeting wrapped up, this is what he did for Pete, ticking off the areas that seemed the most problematic, reminding him of the scenes that resonated most. "So what do we blow up?" Jonas asked. "And what do you love? Is what you loved about the ﬁlm different now than it was when we started?””

Getting critiqued is never pleasant, even if you’re used to feedback and feed forward from your peers. Despite the feeling that we give good feedback to students, teachers are, in a decade of seeing their feedback on conferences, less strong at giving feedback on their own learning. It takes work, effort, energy and sometimes a little painful learning to get feedback that is, in the words of Ron Berger, Kind, Specific and Useful. In the film industry, the Producer’s job in these “brain trust” advisories is to capture that feedback, headline it and begin to make it as useful as possible for the Director, who’s just had his worked critiqued, and might feel a bunch of things, not all positive.

In a classroom setting, when we are giving and receiving feedback, who is the third person playing the role of Producer?

5. The Pupils' View

During my talk, I asked a group of seven students to act as my own braintrust during the talk, providing me with the actions they as students might undertake to make a vision of a more shared learning journey come true, and to highlight which elements of this (new and slightly too hot-off-the-press talk) I should emphasise in the future. Here's what Marianne, Laurie, Marie-Pier, Roxanne, Mathieu, Éloïse and Joana from l'Ecole des Sentiers put to me via Twitter, and what I read out as my conclusions for the talk:

As students, we must also get involved! When teachers offer ideas using technology, they are easily discouraged, but students also have their long journey to undertake, too.

We must show them that we are interested and we are ready to encourage. Teachers feed the enthusiasm of their students.

We should be encouraged to be creative, to risk failure to rise, dust ourselves down and be better next time. Do not prioritize performance above all else.

As students we should create a school forum where everyone would be comfortable giving their ideas and asking questions.

Don’t be afraid to ask questions and to assert your ideas, as the opinion of the students is also important. We have a head on our shoulders.

And sometimes we can see things from another side :)

Our idealistic idea: find a way to finance the purchase of tablets for each pupil. There’d be no more need for a heavy textbook, manual or notebook. And we could connect with interactive whiteboards, with communication between student and teacher encouraged. There’s also an ecological advantage.

Students want to be involved in the course. No more lectures. Students could also talk in front of the class, expose other ideas, what we have understood. Help us not to have to depend on teachers so much.

Students would be able to give their ideas, eg for course topics or written work ... All ideas are welcome.

Suggesting an idea is the best demonstration of intelligence.

Do not aim solely at the acquisition of specific skills encourage overall development.

School leaders and innovators struggle to make the most of educators' and students' potential. My team at NoTosh cut the time and cost of making significant change in physical spaces, digital and curricular innovation programmes. We work long term to help make that change last, even as educators come and go.